Reviews
By Ramesh Chandra Majumdar, B. M. Barua, Kaccayana, D. M. Bhattacharya
Summary
A. Berriedale Keith's *The Sanskrit Drama in Its Origin, Development, Theory, and Practice* is praised for its comprehensive and critical analysis of Sanskrit drama, though some disagreements exist. The work meticulously examines earlier theories, offers a lucid style accessible to both scholars and general readers, and rethinks the subject's entire scope. However, the reviewer questions Keith's derivation of "Bhits" from *Bhirata* and his dismissal of the *Mrcchakatika* as purely literary rather than reflecting contemporary life. Several minor errors and ambiguities are noted, including unclear passages and potential misattributions. P. C. Law's *Ancient Mid-Indian Ksatriya Tribes* compiles extensive literary and historical data on tribes like the Kurus, Panchalas, and Matsyas, laying groundwork for future connected histories. The reviewer commends its thoroughness but critiques the inclusion of later periods and brief treatments of figures like Kokalladeva, which may mislead readers. S. K. De's *Studies in the History of Sanskrit Poetics, Vol. II* is lauded for its critical tracing of Sanskrit poetics' evolution, detailed exposition of systems like *alankara* and *rasa*, and mastery of complex terminology. The volume is seen as essential for scholars, synthesizing diverse sources and clarifying intricate concepts. J. N. Samaddar's *The Glories of Magadha* provides a detailed account of Magadha's social, political, and religious history, emphasizing its role as a trade hub and center of non-Brahmanic religions. The concise yet comprehensive narrative covers events up to the 12th century BCE, though it prioritizes
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Conclusion
This comprehensive review highlights Professor Keith's meticulous synthesis of Sanskrit drama scholarship, emphasizing his critical evaluation of earlier theories and lucid presentation accessible to both scholars and general readers. While commending his balanced approach and thorough analysis, the reviewer notes minor disagreements on specific derivations and interpretations, such as the origin of *Bhita* and the *Myrcchakatika*'s connection to reality. The work stands as a definitive guide, despite isolated critiques on omitted literary analysis and textual inaccuracies. Overall, Keith's contribution remains a cornerstone for understanding Sanskrit drama's evolution, blending rigorous scholarship with broad appeal.